In 2020, the composer and musicologist Martin Iddon and the pianist Philip Thomas published a 400-page monograph outlining, in extraordinary detail, the genesis and the substance of one of John Cage’s most enigmatic compositions: the Concert for Piano and Orchestra (1957-58). In this episode, Martin Iddon reveals why this single work exerts such a powerful draw, 60 years after its premiere.
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Philip Thomas explains the piano part, 'Solo for Piano'
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Iridescent Notation
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Edition Impronta, publisher of Samuel Andreyev’s scores
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Podcast artwork photograph © 2019 Philippe Stirnweiss